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Polymélodies 3

Polymélodies 3

(Code: A135300159)

Discover the collection Polymélodies 3, an anthology for mixed voices, harmonized by Thierry Morin.
The eleven arrangements gathered here have been made to allow youth choirs (but also groups with few male voices) to appropriate songs already more or less known in their original version.

13.50 EUR
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Discover the collection Polymélodies 3, an anthology for mixed voices, harmonized by Thierry Morin:



The eleven arrangements gathered here have been made to allow youth choirs (but also groups with few male voices) to appropriate songs already more or less known in their original version.
In order to be able to be sung by all, they have been elaborated taking into account several aspects:
  • The vocal ambitus is reduced, the melodies have often been transposed, the division of the desks is limited;
    • The rhythmic difficulties of each voice are not very important even if the polyrhythm of the ensemble can be quite rich;
  • The melodic interest of each part has always been sought, silence preferred to "filling" or "choruses" (Oh..., Ah...) fastedious;
  • The main melody often shifts from one part to another so that each chorister assumes a little of what he knows to be the essential;
  • Each arrangement can be performed a cappella.

    Tips for interpretation:



    All of these songs were created by a solo singer accompanied by an accompanist. The transcription for a cappella mixed-voice choir required some harmonic or rhythmic adjustments, and a good knowledge of the existing recording(s) is important to better "understand" these arrangements.
    Tempos, nuances :
    The indications given on these scores have been deliberately limited to the strict minimum in order to leave as much room as possible for the conductor's (and the choristers') imagination. This absence of indication should not, of course, exempt the performers from making real choices of interpretation.
    However, one should avoid using too many "effects" (organ points, stops, slow motion, crescendos...). These songs must keep their often simple and popular character, and care must be taken to ensure that the melody is heard; the melody, often passing from one lectern to another, must not be overwhelmed by "secondary" voices..
    Sentences, breathing, articulation and pronunciation of the text :
    Be careful not to fall into the trap of imitation. The choices made by a solo singer with a microphone are not necessarily valid for a choir of several dozen singers.
    Instrumental accompaniment :
    The chord figures for instrumental accompaniment have been noted for each arrangement, except for Salut à la compagnie, which was designed for a cappella interpretation. If the role and the number of instruments were to go beyond a simple harmonic and rhythmic support (a piano, a guitar...), one will not hesitate to "prune" the vocal score so that the sound texture does not become too loaded, at the risk of seeing the listeners (and the choristers!) get lost in it. (Thierry Morin)

    Content:

    • Salut à la compagnie (chant de quête traditionnel)
    • La ballade Nord -Irlandaise (paroles françaises de Renaud Séchan)
    • Les feuilles mortes ( Jacques Prévert/ Joseph Kosma)
    • Smoke gets in your eyes (Otto Harbach/Jerome Kern)
    • Grand Jacques ( Jacques Brel)
    • Le jazz et la java (Claude Nougaro/Datin/Joseph Haydn)
    • Travailler, c’est trop dur (Zachary Richard)
    • Agua de beber (A. Carlos Jobim / M. de Vinicius, paroles anglaises de Norman Gimbel)
    • Pas Toi (Jean-Jacques Goldman)
    • Quand je serai K.O. (Alain Souchon)
    • La peinture à l’huile (Boby Lapointe)
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